FUJICOLOR NEGATIVE FILM a 250 35Mm TYPE 8518 • 16Mm TYPE 8528

Total Page:16

File Type:pdf, Size:1020Kb

FUJICOLOR NEGATIVE FILM a 250 35Mm TYPE 8518 • 16Mm TYPE 8528 FUJICOLOR NEGATIVE FILM A 250 35mm TYPE 8518 • 16mm TYPE 8528 General This is an ultra-high speed color negative film for motion pictures having an exposure index Properties of 250. It is color balanced to a 3200K tungsten light source and incorporates automatic color masking through the use of colored couplers. Even with its high speed this film pro­ vides fine grain, high definition, wide exposure latitude and natural color reproduction. It is suitable to all kinds of motion picture uses but it is especially suited to indoor and out­ door uses under low light level conditions including special applications such as night time, underwater and high-speed photography. When this film is printed on Fujicolor Positive Film or other similar color print film excellent image qualities are to be derived. Exposure 3200K Tungsten Lamps. 250 Index Daylight 160 (with Fuji Light Balancing Filter LBA-12 or Kodak Daylight Filter No. 85) These numbers are appropriate for use with exposure meters marked for ASA speeds. Since these exposure indexes may not apply exactly as publ ished due to differences in exposure meter usage and processing cond itions, it is recom mended that for best results exposure tests be made prior to use. Film This film is composed of three emulsion layers being sensi tive to blue, green and red light Structure respectively. Beside these a protective layer, a yellow filter layer, an antihalation layer and other layers are all coated on a clear safety base. Incorporated in each one of the co lor layers is a specific coupler and through processing, color dye and co lor mask images are formed in the emu lsion layers. Through the effects Of this resulting orange colored mask, correct color rendition is assured when this film is printed on color positive film for making color release prints. After Exposure Before Process i ng and Processi ng Protective Layer ~ Blue Sensitive Emulsion 0606 @ @ @ @ Layer (containing colorless 1- -------- Yellow Dye Image yellow coupler) @ @ @ @ 0606 Yellow Filter -Layer - Blue-Green Sensitive Emulsion @6@6 @ @ @ @ Magenta Dye I mage Layer (containing ye llow­ -®-6-~-6- -0-@-0-@- and Yellow Coupler - ----- -~- colored magenta coupler) -®-6-~f6.- @ @ @ @ Image - I nterlayer-~ Blue-Red Sensitive Emulsion -._Q ~-j;:.- -.-j9--.-~- Cyan Dye I mage Layer (containing red-colored and Red Coupler --------• 6 • 6 f-.-.--~~--~ cyan coupler) • 6 • 6 Antihalation • ® • ® Image -Layer - Safety Base- FUJI FILM DATA SHEET • FUJICOLOR NEGATIVE FILM A 250 Exposure Since this film is color balanced for 3200K tungsten illumination, under such photographic conditions the use of I ight balancing filters is not necessary but under daylight conditions the use of a Fuji Filter LBA-12 (or a light balancing filter of similar characteristics) is required. Exposure under tungsten light at 24 frames/sec wil l require the following lens openings and illumination levels at an exposure time of 1/50th of a second. Lens Aperture f/l,4 f/2 f/2.S f/4 f/5.6 f/S f / ll Foot-Gandles 10 20 40 SO 160 320 640 Spectral Spectrogram to Tungsten Light (3200 K) Sensitivity Curves .f' .;:;> '0; C Ql (!) ~~ '.j::i +-' ~ ~ a:(!) Wavelength (nm) Safelight Handle in total darkness. Processing Processing is to take place in accordance with designated cond itions and formulas provided for Fujicolor Negative Film and Fujico lor Negative Film A 250. Further, processing may also take place under Process ECN -2 conditions and formulas published by the Eastman Kodak Company for Eastman Color Negative II Film. Characteristic In order to attain conditions closest to actual photographic orientations exposure was Curves made under a 3200K tu ngsten light source through a Fuji SC-41 ultraviolet absorbing f il ter. Processing was carried out under standardized conditions and the three color densities were measured with the results indicated in the graph below. 3.0 I I I I FUJICOLOR NEGATIVE FI LM A 250 - 35 mm T ype 8518 16 mm Type 8528 ~ ....... ~ 2.0 ",,/ i--- ~ ~ B"."" V '0; ~ C Ql ",,/ o V--- V ~ ./" 1.0 V .7- ./ R V / Exposed to 3200K Tungsten Lamp / for 1/50 sec. with Fuji Filter SC-41 / Processed under Standardized /"'" Conditions -- Integral Color Density with Status M Filter o I I I I 3.0 -- 2.0 1.0 0.0 1.0 Log Exposure FUJICOLOR NEGATIVE FILM A 250 • FUJI FILM DATA SHEET Spectral Density 2.0,--------,-------.---- Curves ~ 'iii c oOJ 400 500 600 700 Wavelength (nm) Film Base Clear safety base (T AC) Edge 35 mm Edge number, frame mark and film identification mark (NS) are all printed as Markings latent images. 16 mm Edge number and film identification mark (NS) are printed as latent images. Perforation 35 mm N-4.740 mm (BH-1S66) Types 16 mm 1 R-7.605 mm (1 R-2994) and 2R-7.605 mm (2R-2994) Packaging 35mm 61 m (200ft), Type 35P2 core 122 m (400ft), Type 35P2 core 305 m (1000 ft), Type 35P2 core 16 mm 30.5 m (100 ft), Camera spool for daylight loading (B w inding for single perforation film) 61 m (200ft), Camera spool for daylight loading (B winding for single perforation film) 122 m (400 ft), Type 16P2 core (B winding for single perforation film) 366 m (1200 ft) x 2 rolls, T ype 16P2 CO~ '3 (B winding for single perforation film) Storage of Fujicolor Negative Film A 250, like other types of color films, may undergo some changes Raw Stock in photographic properties as a result of extended storage. As these changes can be accelerated particularly t hrough the action of heat and moisture it is recommended that raw stock be stored at temperatures below 10°C (50°F). When refrigerated raw stock is to be used, leave the package sealed until the film temperature is brought into equilibrium with room temperature, otherwise condensation of water on the film surface may result. Handling of It is recommended that exposed films be processed as quickly as possible after exposure. Exposed Films When it is not possible to process immediately after exposure, film should be stored in the same manner as raw stock until processing can take place. Storage of Processed Fujicolor Negative Film A 250 should be kept in a cool, dark place fully Processed Films protected ,against heat, moisture and I ight. It is preferable for such storage purposes that temperatures will not exceed 20°C (6SoF) and the relative humidity will remain in the 40 to 50 percent range. il!!J1, FUJI PHOTO FILM CO., LTD. 26-30. Nishiazabu 2-chome, Minato-ku, Tokyo 106, Japan Ref. No. MP3-57 E(jf!j·80.8·MB ·4.5·2(D l Printed in Japan .
Recommended publications
  • 10. the Extraordinarily Stable Technicolor Dye-Imbibition Motion
    345 The Permanence and Care of Color Photographs Chapter 10 10. The Extraordinarily Stable Technicolor Dye-Imbibition Motion Picture Color Print Process (1932–1978) Except for archival showings, Gone With the He notes that the negative used to make Wind hasn’t looked good theatrically since the existing prints in circulation had worn out [faded]. last Technicolor prints were struck in 1954; the “That negative dates back to the early ’50s 1961 reissue was in crummy Eastman Color when United Artists acquired the film’s distri- (the prints faded), and 1967’s washed-out bution rights from Warner Bros. in the pur- “widescreen” version was an abomination.1 chase of the old WB library. Four years ago we at MGM/UA went back to the three-strip Tech- Mike Clark nicolor materials to make a new internegative “Movies Pretty as a Picture” and now have excellent printing materials. All USA Today – October 15, 1987 it takes is a phone call to our lab to make new prints,” he says.3 In 1939, it was the most technically sophisti- cated color film ever made, but by 1987 Gone Lawrence Cohn With the Wind looked more like Confederates “Turner Eyes ’38 Robin Hood Redux” from Mars. Scarlett and Rhett had grown green Variety – July 25, 1990 and blue, a result of unstable film stocks and generations of badly duplicated prints. Hair The 45-Year Era of “Permanent” styles and costumes, once marvels of spectral Technicolor Motion Pictures subtlety, looked as though captured in Crayola, not Technicolor. With the introduction in 1932 of the Technicolor Motion Not anymore.
    [Show full text]
  • Fujifilm Motion Picture Film Manual
    FUJIFILM MOTION PICTURE FILM MANUAL Ref.No.KB-0707E 00_motionpicture目次入 07.11.13 0:57 AM ページ1 Contents FUJICOLOR NEGATIVE FILM LIST........ 1 How to read labels ................................. 2 Products..................................................10 FUJICOLOR NEGATIVE FILM FUJICOLOR NEGATIVE FILM ETERNA Vivid 160 .........................................10 TUNGSTEN TYPE DAYLIGHT TYPE ETERNA 250..................................................14 ETERNA 400..................................................18 ETERNA 500..................................................22 ITEM F-64D .............................................................26 ETERNA 250D ...............................................30 35mm 8543 8553 8583 8573 8522 8563 8592 REALA 500D ..................................................34 TYPE No. FUJICOLOR INTERMEDIATE FILM 16mm 8643 8653 8683 8673 8622 8663 8692 ETERNA-CI ....................................................38 FUJICOLOR RECORDING FILM 16 64 125 ETERNA-RDI .................................................42 TUNGSTEN 160 250 400 500 Kodak Daylight Filter No.80A FUJICOLOR POSITIVE FILM E.I. F-CP ...............................................................46 100 160 250 320 ETERNA-CP...................................................50 DAYLIGHT 64 250 500 ETERNA-CP 3521XD.....................................54 Kodak Daylight Filter No.85 Edge Marking of Films...........................58 SIDEPRINT FN43 FN53 FN83 FN73 FN22 FN63 FN92 35mm..........................................................58
    [Show full text]
  • Daphne, Bob and Bird Win New City Council to Be Sworn in Nov
    INDEX What's going on around the islands 4B ""W f^USfoeSS • 3C Calendar 4B CHvside 9A Classifieds 5C Farewell Singapore Commentary 1C Crossword 5C Bailey, Miracle McPhees Environment Police Beat 2A receive 'official' sail to another Scuba Scoop 4A Far East island IB Weather Watch 4A council send-off Since 1961 Still first on Sanibel i and Captiva 50 CENTS VOL. 31, NO. 45 TUESDAY, NOV. 10, 1992 THREE SECTIONS, 32 PAGES CEPD expresses Islands mourn loss frustration at lack of of long-time resident, Blind Pass progress Esperanza Woodring By Steve Ruediger Noted long-time Sanibel Island resident, Esperanza Lor- Islander staff writer raine Woodring, passed away on Friday, Nov. 6, 1992. Captiva Erosion Prevention District commissioners ex- She was 91. sed frustration at last Wednesday's meeting at what A resident of the island for 77 years coming here at age «say is the lack of progress regarding Blind Pass. 15 from Cayo Costa island where she was born, Esperanza The CEPD commissioners say they view the situation became Southwest Florida's first woman fishing guide. as one in which $6 million in already approved state fund- According to family and friends, she spent three quarters of ing for beach renourishment on northern Sanibel is being a century on the water working as a commercial fisherman held up by Sanibel not agreeing to precise wording on a and fishing and shelling guide. proposed agreement. Some commissioners also said the Esperanza was born on July 7, 1901, the first-born of need for $150,000 in local funding might be holding Manuel and Rosa Almas' 12 children.
    [Show full text]
  • Photography 4X6” [40]
    Photography Printing Paper Epson SHEET PAPER Scrapbook Semigloss Photo Quality Adhesive BORDERLESS PAPER All-Purpose Glossy 8.5x11” [20].....................14.95 8.3x11.7” [10]..................10.95 Photo Paper Glossy 8.5x11” [20].......................6.95 Scrapbook Premier Matte Photo Quality Glossy 4x6” [50]............................6.95 Inkjet Transparency 8.5x11” [20].....................14.95 8.5x11” [20].......................9.95 Photo Paper 8.5x11” [30].....................41.50 8.3x11.7” [20]..................10.95 Heavy Weight Matte 11.7x16.5” [20]................59.95 12x12” [10]......................14.95 Durabrite Glossy High Quality 13x19” [20]......................32.50 8x10” [50]..........................9.95 4x6” [50]............................8.49 8.5x11” [100].....................8.95 Dupont Proofing Glossy 11x14” [50]......................22.95 8.3x11.7” [20]....................9.95 8.3x11.7” [100]..................9.50 13x19” [100]..................249.95 Premium Glossy Premium Semigloss Photo Paper Glossy 4x6” [40]............................8.95 Premium Luster 8.3x11.7” [20]..................12.95 8.5x11” [20].......................8.50 4x6” [100]........................13.95 8.5x11” [50].....................29.95 11.7x16.5” [20]................41.95 8.5x11” [50].....................18.95 5x7” [20]............................6.95 Enhanced Matte 11.7x16.5” [50]................77.95 8.5x11” [100]...................25.95 8x10” [20]........................11.95 8.5x11” [50].....................13.95 13x19” [50]......................96.50
    [Show full text]
  • Wildlife Reigns on the Islands Once Again Refuge Dedication
    SanibehCaptiva since 1961 vol. 18, no. 6 February 7, 1978 two sections ten cents wildlife reigns on the islands once again refuge dedication by rich arthurs Despite cloudy sides and chilly winds, a large crowd of Islanders, visitors and honored gaests showed up at the observation tows' on the wildlife drive through the main tract of the 3, N. "Ding" Darling National Wildlife Refuge last Saturday afternoon for a long-overdue ceremony formally dedicating the Refuge to the memory of raccoons the famous conservationist and Pulitzer prize-winning cartoonist Jay Norwood 'Ding" Darling (1876-1962). at From Sherry Fisher's opening remarks to the official dedication of the conservation Refuge by Assistant Secretary of the Interior Robert L. Herbst, the ceremony emphasized the need for a center continuing commitment to wildlife preservation efforts In this comtry, as see story en page S empUfied by the pioneering work of Jay Norwood Darling. As political cartoonist for the Des Moines "Register" from 1906 through 1949 whose work was eventually syn- dicated and carried in. .over 130 prominent newspqwars throughout the country, "Ding" Darling probably did more than -any other fjg«e to the history of this eoHatey to promote the spirit of wildlife conservation which now prevails on Sasibei and Captiva. Darling was a regular winter visitor IWA meeting tomorrow by gwen Stevenson discovered that it is not necessary for a utility to request an amendment to A special meeting of the Island Water the Plan to construct a plant, so that is Association's membership will be held one major problem JMS of the way." tomorrow, Wednesday, at 9:30 a.m.
    [Show full text]
  • Introduction to Basic Color Photography Edition Date
    SUBCOURSE EDITION SS0514 A INTRODUCTION TO BASIC COLOR PHOTOGRAPHY EDITION DATE: SEPTEMBER 1994 INTRODUCTION TO BASIC COLOR PHOTOGRAPHY Subcourse Number SS0514 EDITION A United States Army Signal Center and School Fort Gordon, GA 30905-5074 5 Credit Hours Edition Date: September 1994 SUBCOURSE OVERVIEW This subcourse presents you with information on color photography, including theory, exposure, and printmaking. Topics covered include the theory of light, how colors are formed, and color print materials--their structure and exposure. Color negative developing using the popular C-41 process is explained, as well as the Ektaprint 2 process that is most often used to make color prints from negatives. The E6 reversal processing and the two methods of making prints from slides are examined (color coupler (conventional reversal paper) and dye destruction (like Cibachrome)). In addition, this subcourse defines general quality control procedures. Since duplicate transparencies are often required, the generation process is explained. There are no prerequisites for this subcourse. This subcourse reflects the doctrine which was current at the time it was prepared. In your own work situation, always refer to the latest official publications. Unless otherwise stated, the masculine gender of singular pronouns is used to refer to both men and women. TERMINAL LEARNING OBJECTIVE ACTION: You will identify procedures for color negative printing techniques, color reversal film processing and printing, and slide duplicating techniques. CONDITION: You will be given information from TM 11-401-2, STP 11- 25S13-SM-TG, and Photographer's Mate Training Series NAVEDTRA 373-02-45-83, MOD 2. STANDARD: To demonstrate competency of this task, you must achieve a minimum score of 70% on the subcourse examination.
    [Show full text]
  • Processing KODAK Color Print Films, Module 9 Process ECP-2E Specifications
    Processing KODAK Color Print Films, Module 9 Process ECP-2E Specifications ©Eastman Kodak Company, 2010 Table of Contents FILMS AND PROCESS SEQUENCE . 9-1 Designated Films . 9-1 Film Structure. 9-1 Process ECP-2E Steps . 9-2 Alternative Ferricyanide or UL Bleach Sequence . 9-2 Safelights for Darkroom Illumination . 9-2 Film Storage and Handling . 9-2 Other Film Characteristics . 9-2 PROCESSING MACHINE DESIGN AND CONSTRUCTION. 9-3 Machine Design . 9-3 Construction Materials . 9-6 Filters . 9-8 Crossover Squeegees . 9-8 Dryer Cabinet. 9-8 Film Lubrication . 9-8 Machine Exhaust and Room Ventilation Systems . 9-9 Countercurrent Washes. 9-9 OPERATING SPECIFICATIONS . 9-9 Mechanical Specifications . 9-9 UL Bleach Formulations. 9-13 Conversion to UL Bleach . 9-13 Drying Specifications . 9-14 Turbulation Specifications . 9-14 Wash-Water Flow Rates . 9-15 Stop Wash . 9-15 Bleach Wash . 9-15 Final Wash. 9-15 Rewashing . 9-15 PROCESSING CHEMICALS AND FORMULAS . 9-16 Packaged Chemicals . 9-16 Bulk Chemicals . 9-16 Solution Mixing. 9-19 Formulas and Analytical Specifications . 9-20 Storage of Solutions. 9-27 OPTICAL SOUND PROCESSING . 9-27 Overview . 9-27 Sound Track Operating Specifications. 9-27 Sound Track Control . 9-27 MORE INFORMATION . 9-28 The information contained herein is furnished by Eastman Kodak Company without any warranty or guarantee whatsoever. While Kodak is unaware of any valid domestic patents of others which would be infringed by the methods, formulas or apparatus described herein, the furnishing of this information is not to be considered as any license for inducement of, or recommendation for any action by any party any such action being a matter for independent investigation and decision by such party.
    [Show full text]
  • DIGITAL and DARKROOM IMAGING EC.305 Ground Rules and Logistics Sept
    DIGITAL AND DARKROOM IMAGING EC.305 Ground Rules and Logistics Sept. 8, 2011 GRADING: Pass-D-Fail for upperclassmen, P-NR for freshmen. There is no final examination nor do we presently plan any quizzes. Grades will be based on completion of homework, completion of your best series of three black & white gelatin-silver prints and completion and presentation of your term project. We shall expect each student to carry out a term project. The suggested nature of this project is as follows. Part A: Imaging and Chemical Darkroom 1. Each student should photograph a series of B&W images using Ilford HP-5 film. You should experiment. Shoot several rolls of film. If you have a digital camera, repeat the shoot using the digital camera. This will give you a basis for comparisons. Select a theme for your series; we encourage you to relate it to experiments you are doing at the Institute. The film negatives should then be developed in the Edgerton film darkroom. 8 inch by 10 inch prints from these negatives should be made using the Edgerton print darkroom. 2. Once you have made your darkroom prints the film should be scanned to produce digital files which you will bring into Photoshop. After enhancement using Photoshop, digital B&W prints should be made for comparison with your conventional prints. 3. Students are expected to supply their own film and photo paper. Part B: Idea or Descriptive Sequence We ask that each student prepare an idea or descriptive sequence in three to five images. These three 8” by 10” B&W prints should be done using your best talents in the print darkroom to make them truly good prints.
    [Show full text]
  • Kodak Color Reference Bar
    Kodak Color Reference Bar ethnocentrically.Armstrong synonymize Patsy isovernight. toilsomely Barefooted mendacious Darwin after neverquadruplex marshalling Algernon so colloquially summarizes or his coft telephonists any ingates postally. The necessary to say i find tidbits there means for color bar that, and formalin used for the previous ektacolor type Your negative looks a quick dark. Administrative metadata comprises both technical and preservation metadata, degradation, the murder and scene are just shot two different exposures. Please contact your local Kodak representative or doubt to wwwkodakcom gorecycle for. Of game four, outdoors, was used as a game and performed poorly. Individual traders will fall is this category. The color misregistration is made up for futures, refer to process. Still the sufficient way would be to transmit color charts with Vision3 and kidnap the. For evaluation rather, alternate position your personal injury or kodak color. Failure colour printers and color bar without specific negative film unit too large color. The bar type film corresponding ici colour printing filter no technology to refer to link metadata tend to others learn to be pulled out wrong type, ports and dust out. Tonality BASE KODAK 500T Color Negative Films 5230 and 7230 have. Why try to download this reference plate. Incredible is colored oxidation product at kodak motion picture slightly higher proportion of information collected at some image. Finally, which gives you transfer points and objective exposure information for the cinematographer. Resolution requirements for photographs are often difficult to smell because mint is never obvious fixed metric for measuring detail, magenta and cyan, while others will strike to property done beneath a routine basis.
    [Show full text]
  • KODAK VISION Color Print Film 2383 3383 Data Sheet
    KODAK VISION Color Print Film / 2383 TECHNICAL DATA / COLOR PRINT FILM July 2015 • H-1-2383t Clear, rich images on the theatre screen. With VISION Color Print Film, you’ll have the high The colors you love, the rich blacks, and the "look" you’re quality motion picture color print film you expect from used to. That’s KODAK VISION Color Print Film / 2383. Kodak. The VISION Color Print Film from Kodak has the great look you associate with Kodak films, with rich blacks and STORAGE neutral highlights. The film is durable and resistant to scratches and dirt. This color print film is worthy of the Unexposed print film is not adversely affected by KODAK VISION Film family name. short-term storage at room temperature (less than 25°C With the excellent tonal scale, cinematographers can be (77°F). Store unexposed film at 13°C (55°F) or lower when more creative with lighting and exposure, and still see storage exceeds 1 month. If refrigerated, allow the sealed excellent results. can or foil bag to equilibrate to room temperature before opening to avoid condensation. Rebag unused raw stock BENEFITS FOR LABS BENEFITS FOR DISTRIBUTORS/ and seal it in film cans before returning it to refrigeration. EXHIBITORS Process exposed film promptly. This film exhibits • Polyester base provides • Polyester base allows cleaner, excellent latent image keeping. When exposed film must greater tear strength, more durable prints be kept several days before processing, the tone scale of durability, dimensional • No colored fringes in titles, and stability, and archival improved safelight edgefog VISION Color Print Film / 2383 shows little change.
    [Show full text]
  • KODAK Motion Picture Products Price Catalog for the United States
    KODAK Motion Picture Products Price Catalog for the United States EASTMAN KODAK COMPANY, ROCHESTER, NEW YORK 14650 FOR DIRECT CUSTOMER USE ONLY EFFECTIVE AUGUST 2, 2021* ©2021 Kodak. Kodak, Eastman, Ektachrome, Estar, Tri-X, Double-X, Keykode, Vision, and Wratten and the Kodak logo are trademarks. Prices are subject to change without notice. * Effective date may vary, please see top of each page for current effective date. MOTION PICTURE PRODUCTS EFFECTIVE AUGUST 2, 2021 US Film Pick Up Location 7758 Sunset Blvd Hollywood, CA 90046 Phone: 323-499-1012 To Order Film and Other Items Monday – Friday, 8:00 am to 5:00pm Eastern Time Call KODAK Customer Service: (800) 621-FILM (3456) Fax Orders: (800) 648-9805 Email Orders: [email protected] Technical Product Support [email protected] KODAK Film Laboratories New York 37-18 Northern Blvd. Long Island City, NY 11101 Suite 101 Tel: (718) 606-9263 Email: [email protected] Atlanta Lab/Delivery and Drop Off: 2156 Faulkner Road Atlanta, GA 30324 Tel: (404) 633-1449 Telecine: 6 West Druid Hills Dr. NE Atlanta, GA 30329 Tel: (404) 545-3172 Email: [email protected] London The Ken Adam Building, Pinewood Studios Pinewood Road, Iver Heath Buckinghamshire SL0 0NH. Tel: 0208 993 9779 Email: [email protected] 2 MOTION PICTURE PRODUCTS EFFECTIVE AUGUST 2, 2021 Table of Contents US Film Pick Up Location ....................................................................................................................................................................................................
    [Show full text]
  • The Essential Reference Guide for Filmmakers
    THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS IDEAS AND TECHNOLOGY IDEAS AND TECHNOLOGY AN INTRODUCTION TO THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS Good films—those that e1ectively communicate the desired message—are the result of an almost magical blend of ideas and technological ingredients. And with an understanding of the tools and techniques available to the filmmaker, you can truly realize your vision. The “idea” ingredient is well documented, for beginner and professional alike. Books covering virtually all aspects of the aesthetics and mechanics of filmmaking abound—how to choose an appropriate film style, the importance of sound, how to write an e1ective film script, the basic elements of visual continuity, etc. Although equally important, becoming fluent with the technological aspects of filmmaking can be intimidating. With that in mind, we have produced this book, The Essential Reference Guide for Filmmakers. In it you will find technical information—about light meters, cameras, light, film selection, postproduction, and workflows—in an easy-to-read- and-apply format. Ours is a business that’s more than 100 years old, and from the beginning, Kodak has recognized that cinema is a form of artistic expression. Today’s cinematographers have at their disposal a variety of tools to assist them in manipulating and fine-tuning their images. And with all the changes taking place in film, digital, and hybrid technologies, you are involved with the entertainment industry at one of its most dynamic times. As you enter the exciting world of cinematography, remember that Kodak is an absolute treasure trove of information, and we are here to assist you in your journey.
    [Show full text]